Always order "DEWITT'S " Acting Plays. 

PRICE 15 GENTS. 





DE WITT'S ACTING PLAYS. 

PS>£>$^ (Number 333.) 

CAUGHT AT LAST. 

A COMEDIETTA, IN ONE ACT. 

By NOMAD. 




AND 



THE BLUE STOCKING, 

A COMEDIETTA, IN ONE ACT. 
By DELISSA JOSEPH. 



TOGETHElt WITH 



A Description of the Coot nines — Cn^t of the Characters — Entrances 

and Exils — Relative Positions of the Performers on the 

Si nne — ami the whole of the Stage Business. 




DE WITT. PUBLISHE.K, 



JVo. 33 Hose Street. 




m m A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACTING 
AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, containing 
„, Costume, Scenery, Time of Representation, and every other informa* 
RE ADIT. / A ._ ma ii ea free and post-paid. 



NOW 



( m m , 

1 PLAYS, 
"S Plots, C< 
£ tion, ma 



DE "WITT'S 

ETHIOPIAN AM) COMIC DRAMA. 



Nothing so thorough and complete in the way of Ethiopian and Comic Dramas has ever 
been printed as those that appear in the following list. Not only are the plots excellent, the 
characters droll, the incidents funny, the language humorous, but all the situations, by.play, 
positions, pantomimic business, scenery, and tricks are so plainly set down and clearly 
explained that the merest novice could put any of them on the stage. Included in this 
Catalogue are all the most laughable and effective pieces of their class ever produced. 

*$* In ordering please copy the figures at the commencement of each piece, which 
indicate the number of the piece in " De Witt's Ethiopian and Comic Dkama." 

4£g= Any of the following Plays sent, postage free, on receipt of price — Fifteen Cents 
each. 

jg®= The figure following the name of the Play denotes the number of Acts. The 
figures in the columns indicate the number of characters — 31. male; F. female. 



M. F. 

141. Absent Minded, Ethiopian farce, 1 

act 3 1 

73. African Box, burlesque, 2 scenes. . . 5 

107. Africanus Bluebeard, musical Ethi- 
opian burlesque, 1 scene 6 2 

113. Ambition, farce, 2 scenes 7 

133. Awful Plot (An) Ethiopian farce, la. 3 1 

43. Baby Elephant, sketch, 2 scenes 7*1 

42. Bad' Whiskey, Irish sketch, 1 scene. 2 1 
79. Barney's Courtship, musical inter- 
lude, 1 act 1 2 

40. Big Mistake, sketch, 1 scene 4 

6. Black Chap from Whitechapel, Ne r 
gro piece 4 

10. Black Chemist, sketch, 1 scene 3 

11. Black-Ey'd William,sketch,2 scenes 4 1 
146. Black Forrest (The),Ethiopian farce, 

1 act 2 1 

110. Black Magician (De),Ethiopian com- 
icality 4 2 

126. Black Statue (The), Negro farce 4 2 

127. Blinks and Jinks, Ethiopian sketch. 3 1 

128. Bobolino, the Black Bandit, Ethio- 

pian musical farce, 1 act 2 1 

120. Body Snatchers (The),Negro sketch, 

2 scenes 3 1 

78. Bogus Indian, sketch, 4 scenes 5 2 

89. Bogus Talking Machine (The), farce, 

1 scene : 4 

24. Bruised and Cured, sketch, 1 scene. 2 

108. Charge of the Hash Brigade, comic 

Irish musical sketch 2 2 

148. Christmas Eve in the South, Ethio- 
pian farce, 1 act 6 2 

35. Coal Heaver's Revenge,Negro sketch, 

1 scene 6 

112. Coming Man (The), Ethiopian sketch, 

2 scenes 3 1 

' 41. Cremation, sketch, 2 scenes 8 1 

144. Crowded Hotel (The), sketch, 1 sc. 4 1 
140. Cupid's Frolics, sketch, 1 scene 5 1 

12 Daguerreotypes, sketch, 1 scene 3 

53. Damon and Pythias, burlesque, 2 sc. 5 1 
63. Darkey's Stratagem, sketch, 1 scene 3 1 
131. Darkey Sleep Walker (The), Ethio- 
pian sketch, 1 scene 3 1 



M. 
124. Deaf as a Post, Ethiopian sketch.. . . 2 
111. Deeds of Darkness, Ethiopian ex- 
travaganza, 1 act. 6 

139. Desperate Situation (A), farce, 1 sc. 5 

50. Draft (The), sketch, 2 scenes 6 

64. Dutchman's Ghost, 1 scene 4 

95. Dutch Justice, laughable sketch, 

1 scene 11 

67. Editor's Troubles, farce, 1 scene ... 6 
4. Eh ? What is it ? sketch 4 

136. Election Day, Ethiopian farce, 2 sc. 6 
98. Elopement (The), farce, 2 scenes. . . 4 

52. Excise Trials, sketch, 1 scene 10 

25. Fellow that Looks like Me, inter- 
lude, 1 scene 2 

88. First Night (The"), Dutch farce, 1 act 4 

51. Fisherman's Luck, sketch, 1 scene. 2 
152. Fun in a Cooper's Shop, Ethiopian 

sketch 6 

106. Gambrinus, King of Lager Beer, 

Ethiopian burlesque, 2 scenes 8 

83. German Emigrant (The), sketch, lsc. 2 
77. Getting Square on the Call Boy, 

sketch, 1 scene 3 

17. Ghost (The), Sketch, 1 act 2 

58. Ghost in a Pawn Shop, sketch. 1 sc. 4 

31. Glycerine Oil, sketch, 2 scenes 3 

20. Going for the Cup, interlude 4 

82. Good Night's Best, sketch, 1 scene. 3 
130. Go and get Tight, Ethiopian sketch, 

1 scene 6 

86. Gripsack, sketch, 1 scene 3 

70. Guide to the Stage, sketch 3 

61. Happy Couple. 1 scene 2 

142. Happy Uncle Rufus, Ethiopian mu- 
sical sketch, 1 scene.. . . 1 

23. Hard Times, extravaganza. 1 scene. 5 
118. Helen's Funny Babies, burlesque. 

1 act • • • 6 

3. Hemmed In. sketch 3 

48. High Jack, the Heeler, sketch, 1 sc. 6 

68. Hippo theatron, sketch 9 

150. How to Pay the Rent, fnrre, 1 scene 6 

71. In and Out, sketch. 1 scene 2 

123 Intelligence Office (The), Ethiopian 

sketch, 1 scene 2 



F. 



1 
1 
1 
1 

1 

2 



1| 
1 



66 



CAUGHT AT LAST." 



A COMEDIETTA, IN ONE ACT, 

/ 
BY N OMAD. 



THE BLUE STOCKING. 



A COMEDIETTA, IN ONE ACT, 

BY DELISSA JOSEPH. 



TOGETHER WITH 

A DESCRIPTION OF THE COSTUMES CAST OP THE CHARACTERS 

ENTRANCES AND EXITS RELATIVE POSITIONS OE THE 

PERFORMERS ON THE STAGE, AND THE WHOLE OF 
THE STAGE BUSINESS. 



iAN 22 1CC5 J 



NEW YORK: 

DE WITT, PUBLISHER, 

No. 33 Rose Street. 
Copyright, 1884, by A. T. B. De WIT'S*. 



2 "caught at last." 

CAST OF CHABACTER8. ^ J \\ 

Lord "Warton, fond, irritable father. jr\^\^ f ' 

Mabel, wilful daughter, /\J J >J • 

Cosmo D Yncourt, her cousin and lover. \ 

TIME OF PLAYING— TWENTY-FIVE MINUTES. 



SCENERY. 
Scene — Drawing Room in Lord Warton's house. 



COSTUMES. 

Lord Warton— Gentleman's evening dress : rather precise. 

Cosmo D' Yncourt — Naval officer's undress tiniform. 

Mabel — Rieh evening dress ; with opera cloak on arm and gloves in hand. 

PROPERTIES. 
Gold snuff-box, for Lord Warton. 

THE BLUE STOCKING. 



CAST OF CHARACTERS. 



Gertrude Sadheart. 
Amy d'Esprit, her friend. 
Henry Spendlove. 
A Servant. 



TIME OF PLAYING— TWENTY MINUTES. 



SCENERY. 
Scene— A modern interior, with a country outlook. 



COSTUMES. 

Henry Spendlove — Gentleman's walking suit. 
Gertrude — Rather plain, but still handsome attire. 
Amy d'Esprit — Fashionable visiting dress. 



PROPERTIES. 

Books and a watch for Gertrude. 



STAGE DIRECTIONS. 

R. means Right of Stage, facing the Audience ; L. Left ; C. Centre ; R. C. Right 
of Centre.; L. C. Left of Centre. D. F. Door in the Flat, or Scene running across 
the back of the Stage ; C. D. F. Centre Door in the Flat ; R. D. F. Right Door in 
the Flat ■ L. D. F. Left Door in the Flat ; R. D. Right Door ; L. D. Left Door : 1 E. 
First Entrance ; 2 E. Second Entrance ; U. E. Upper Entrance ; 1, 2 or 3 G. First, 
Second or Third Groove. 

R. R. C. C. L. C. L. 

ig^The reader is supposed to be upon the stage facing the audience. 



a 



CAUGHT AT LAST." 



SCENE— Drawing-Boom in Lord Warton's House. Lord Warton 
and Cosmo D'Yncourt in earnest conversation. 

Lord W. {irritably.) Of course, I know you are a connection of 
ours; I don't dispute that fact. {Clears his throat after a fussn 
manner. ) (Erhum ! Erhum !) In fact, you are quite justified in caff 
mg yourself her cousin-after a fashion, after a fashion (Erhum! 
Erhum!) {Gets up, and -walks round, $c.) 

Cosmo. I've loved Mabel from a boy, sir— my lord 

Lord W. {Sarcastically) From the time you 'were a boy, I presume 
you mean, (Erhum! Erhum!) ■■ ** couul » 

Cosmo (a little hotly ) Yes, of course I mean that, and it seems to 
me incredible that my having come suddenly into 20,000 a year should 
frustrate my hopes of winning her. 

Lord W. It may well do so, but you don't know Mabel : vou see 
you have been away eight years and you don't know that girl, demme' 
as she is now. Wilful is only a mild term for her whims and Vagaries! 

Cosmo, She loved me when we parted, or, at least, I had everv rea- 
son to ttimk so. In fact (rising, with some temper) I'm sure she did 

Lord W. {irritably. ) Well, 'tisn't many men who can speak so 'cock- 
sure.' Isn't that your nautical term ? (Erhum! Erhum!) Whv sir 
I tell you she's a very devil of far-fetched ideas and contrarieties,' and 
the older she grows the worst she gets. As to making sure of her 
favor-ha ! ha! ha! I fancy many men have thought that same ; but 
they've found their mistake, sir— they've found their mistake For 
my part (loaxmg confidential) I don't mind telling you, Davenant— hum ' 
D 'Yncourt— seems odd to call you so— I'm sick of it all; sick of it all' 
bhe leads them along, and the blind fools don't see 'tis for her own 
pleasure for the time, demme, I won't say for her own convenience : 
but there! women must always have men dangling at their heels 
fetching and carving for 'em. They all come to me (Erhum ! Erhum ') 
with the same tale and she, demme, she only laughs at them and at me 
into the bargain. All this I tell you, sir, is nothing new to me. I onlv 
wish with all my heart she'd marry you and have done with it 

Cosmo, {a shade bitterly.) If you had said that eight years ago it 
would have been more to the point. 

Lord W. {coolly.) Eight years ago, sir, vou were young Cos. Dave- 
nant, a poor devil of a navigating lieutenant, with something under 
JblOO a year. & 



4: "CAUGHT AT LAST." 

Cosmo, (bitterly.) I see. (With some warmth.) And yet you say 
now that it is no use my coming to you, although you pronounce her 
fancy free. I confess I do not understand you. Have you laid my 
offer fairly before her, and explained matters fully, as stated in my 
letter f 

Lord W. Yes, I tell you, and had the letter torn into bits before my 
face, and laughed at for my pains. 

Cosmo, (gloomily.) I'm convinced she did love me. I thought her 
answer sure. 

Lord W. (taking snuff.) Nothing's sure in this world, but death and 
taxes; least of all, a girl's fancy; there is no for ever in that; they 
said — at least, some fellow says — that "a man's for ever is until his 
fancy changes," so what can you expect from a woman's ? (closes his 
silver snuffbox icilh an impatient click.) Why, they're all Weathercocks 
for fickleness! they're asuustable, they're as unstable — demit, they're 
as unstable as — as 

Cosmo, (anxiously.) What does she say to my accession of fortune, 
and consequent change of name ? 

Lord W. (testily.) Nothing, nothing. She has a sovereign contempt 
of money. 

Cosmo, (rising, and flinging away his chair impatiently.) May I see 
her? I am altogether at sea ; there is some confounded mystery in all 
this. 

Lord W. See her? Of course, by all means, and the sooner the 
better — now, if you like. There is some chance in taking 'em unawares 
(Erhum! Erhum! ) We are going to the opera to-night, and it's quite 
time I was getting ready. I'll send word to her that's she's wanted ; 
try your luck in person it ought to cell — try it with all your might; 
you may bring her round, but she swears, egad ! she'll never marry a 
rich man. (Erhuni! Ei'hum!) I'm tired of her vagaries. Of course 
I'm her father, and fond and proud of her, and I don't like (with some 
emotion) to see her throwing away chance after chance, and remain- 
ing single at her age, nearly thirty. By Jove! demme, she ought to 
think herself lucky to get such a chance. 

Cosmo. For heaven's sake ! don't put it that way. If you did, no 
wonder she took it badly, and tore up my cursed letter. 

Lord W. Not I. Not I. All this is only between ourselves. 
li Entrenous, entrenous, " as all the second-rate novel writers would 
say, as if the Queen's English wasn't good enough for 'em to express 
the little they've got to say in, demme, and a shade too good, I take 
it, Ha ! ha ! ha ! {Exit, l. 

Enter Mabel ( r, ) in evening dress, with opera cloak and gloves in 
hand, singing "Oh, love for a day, a week, a year, But alas for 
the love that loves al-wa; ," goes to the glass and views herself, 
continues humming the air, turns a waltzing step or two, and sees 
Cosmo. (Starts.) 

Cosmo. Mabel! (Somewh-at frigidly S) 

Mabel. Cosmo!! Oh dear Cosmo !! ! (Runs to him, takes his out- 
stretched hand, looking eagerly iuto his face, with her own half 
raised, expectantly. Cosmo remains coolly erect; she recoils 
slavering, but presently sees he is only putting some severe restraint 
on himself, when her natural wilfulness and vivacity returns.) 
(Demurely) You are looking much older, Cosmo. 

Cosmo, (awkwardly.) Yes — I — um — suppose so. I have been rough- 
ing it at sea for eight years. 



"caught at last." 5 

Mabel, (sighing) Yes, for eight long years. 

Cosmo, {impulsively.) Oh, my darling, my old love, you are more 
beautiful than ever. I must — I must kiss you this once ? at least I 
have a cousin's right. 

Mabel. Oh, Cosmo! (yielding:) (then pettishly retracting.) I hate 
cousinly embraces. 

Cosmo. You are too heartless, (desisting.) 

Mabel, (with archness.) Nay, Cos. I think it is you who are heart- 
less and — and (aside) stupid, (Looks up into his face, and once more 
his arms close round her, and his lips would have met hers, hut she springs 
aside with a, ringing laugh.) Oh, dear, dear, I thought that was papa 
coming. Hark ! do you not hear him stampeding about over-head? 
he's been raging all day in such gusts, because I vexed him about a 
letter. 

Cosmo. Ah, about D'Yncourt's offer. 

Mabel, (blushing.) So he has already told you of my sins in that 
quarter. Of course you know that I will never marry so 

Cosmo. But why will you not say yes, Mabel, darling ? 

Mabel, (gasping.) Cosmo!!! And you — you only come to say 
this to me, after— after all these years! (stamps her foot with sudden 
passion.) But, for all that, know that I will never marry like this. 
Fancy ! a disgusting creature writing such an insulting offer to a 
woman who does not even know him by sight. I would not marry 
such a coarse minded brute not even if he were stuffed with tenfold 
his hateful gold. Now papa just make the best of it, for I will re- 
main single all my — all my wretched miserable life. I wishlhad never 
been born . Cosmo ! ! You are wretch. 

Cosmo. I confess I cannot understand you. I thought you loved me. 

Mabel. Are you an idiot? Of course 1 loved you — once (laughing 
rather shrilly.) I don't deny it ; occasionally women are such fools, 
but now 

Cosmo. Then why on earth don't you marry me ? 

Mabel, (passionately.) Because now I hate you. 

Cosmo. That's plain at all events. 

Mabel. I always speak plainly, (fumbling with her gloves.) 

Cosmo, (with some amusement.) Those gloves seem tiresome to get 
fastened. Shall I help you? 

Mabel. Thanks; such ridiculous nonsense putting such quantities 
of buttons on gloves. (looJcs up qiiestioningly into his fate, and smiles ; 
he puts his arm round her to get more conveniently at the glove ; she does 
not struggle, but leans against him.) What a delightful lady's maid 
you would make ; at once a help and a rest. I ! should like a maid 
like you, Cos. (with provo Icing coquetry.) It would be de-li-cious ! 

Cosmo, (laughing.) You would like me much better as a husband. 
Say yes, Mabel, why are you so contrary ? 

Mabel. Well, really, Cosmo ! and you never asked me before. 
(Erkuni! Erhum!) (heard outside, both start apart.) 

Enter Lord W., l. 

Lord W. Well, Cosmo ? Have you surrendered : has she come to 
her senses ? 
Mabel. As if I had ever been out of them, papa. 
Lord W. Well, it's a long lane that has no turning. I'm sure I 



,6 "CAUGHT AT LAST." '" 

hope you both be happy ; and so this is the why you have stayed sin- 
gle all this time, miss, (kissing her.) 

Mabel. Of course it is. 

Lord W. All for a rascally young sailor. 

Mabel. Hush, papa. 

Lord W. (Erhum! Erhum!) Well, he can't think 'tis for his sud- 
den accession of fortune you have married him, anyhow. 

Mabel, (wonderingly. ) Have you had some good fortune, Cos I 

Cosmo. I begin now to think I have, but I don't understand. I 
thought you despised my fortune. 

Mabel. Oh dear, no. 

Cosmo. And declined me with scorn, and now you seem 1 confess 

I am in the dark very much stilh 

Mabel. Are you not poor now, then ? 

Cosmo. No, rather not, but your father said you would not listen to 
reason — said you would never marry a rich man. 

Mabel. " Circumstantium alteram casum." 

Cosmo. (laughing in spite of himself.) And that you tore up my 
letter, and all that, don't you know. 

Lord W. (aside) dem it, why they're all at sea now. 

Mabel. What on earth do you mean, Cosmo. Has eight years of 
sea and some wretched prize money, or something, turned your brain. 
It was Mr. D'Yncourt's letter I tore up, and I'd tear him up too if I 
could, because — I loved you. 

Cosmo, (mystified, but delighted.) But / am, D'Yncourt. 

Mabel. You ! ! Cosmo Davenant the rich D'Yncourt ? 

Cosmo. Of course. I had to take the name with the money. 

Mabel. And I never knew ! 

Cosmo. Why, sir, (turning angrily to Lord WartonJ you cannot 
have explained. 

Mabel, (aside.) I hate to do a thing I've said I wouldn't do, and I've 
sworn I'd never marry a rich man. I feel like a rat caught in a trap. 

Lord W. (testily.) Of course I explained, of course I did; but 
she was so infernally hasty, she couldn't have listened ; she always 
rushes off at a tangent ; she couldn't have listened. 

Mabel. Now, papa, you know that if I did not listen enough to 
understand it is your own fault entirely ; you know it is such an old 
tale ; you have always been pestering me to marry some wretched 
bothering creature for his money, and I never will marry a rich man 
(pettishly,) so there! 

Cosmo, (in alarm.) Surely you will unsay that now, Mabel. 

Mabel. No I will not. I am deceived all round ; you can go away 
(stamping her foot. ) 

Lord W. (Erhum ! Erhum!) I told you she was full of whims and 
vagaries. 

Cosmo. Mabel ! ! You can never be so cruel — so stubborn. 

Mabel, (haughtily.) Will you go away, sir? 
^ Cosmo. Oh, certainly ; I begin to think, with your father, that you 
do not quite know what you do want, (turns to leave her.) 

Mabel, (dolefully, and in tears.) Yes — I — do — know — what — I — 
waut (half sobbing.) I want — a — husband — who'll — who'll 

Cosmo, (rushing back.) Yes, Mabel. 

Mabel. Who'll 

, Cosmo. Well? Speak, darling. 



"caught at last." 



Mabel. Who'll be kind to me, and — and 

Cosmo. For heaven's sake, wliat ? 

Mabel. Who'll — kiss me, cousin. 

Loed W. (exultant.) It's all right, you see. (Erhum! Erhum!) 



CUBTAItf. 



THE BLUE STOCKING. 



SCENE— A Modem Interior, with a Country outlook. 
(GertrudeJadheart discovered alone, seated listlessly, and surrounded 

Gert {looking at watch.) Four o'clock! Six hours more of another 
weary day before me, with the self-same problem still haunting m • 
mi^ wZ, h ° W ^ st ^ {^et my grief^ Forget! (laughlg%™i 
Wj^ mockery to dream of forgetting that which has made 
itself part of my nature. I pine for mv love— false though he has 
shown himself, and shall pine and pine until he returns, or J die! 

(A Jcnoclc at the door.) 
Gert. Come in ! * 

(Enter Amy d'Esprit. ) 

Amy They told me I should find you up here. I've iust rnn nn +n 
see if I could cheer you a little bit, Gertv J P *° 

Gert. You're really kind. 

Amy. You're such a sad girl. I can't make you out. You're clever 
and good-lookmg and well off, and yet you're always so sad audio 
qmet. (jnmtctcing Gertrude's languor.) 

.ntS'gSf^h^S WOUl " ^ ^ ^ qUiett °°> lf y ° U labOTGd 

of yoSs^s aVG ° ften WOndered ' aert ^' what thi » all-absorbing grief 

Gert. Have they never told you, then? 
Amy. Never. 

tro^wJs The W ° rld iS n0t genera11 ^ so remiss ™ ^tailing peoples' 

[8] 



THE BLUE STOCKING. 9 

Amy. Nor are girls, as a rule, as abstaining as I have been in ask- 
ing about peoples' troubles. 

Gert. Ah, you sly girl ; if the truth were told, you are burning to 
know my melancholy little story. 

Amy. My curiosity is certainly not lessened by my abstinence. 

Gert. I know you are the kindest of girls, and that I am sure of 
your sympathy. 

Amy. You have never given me the chance of showing whether I'm 
kind or not, but if you'll confide in me I can promise you my sympathy. 

Gert. Well, then, make yourself comfortable. (Pointing to chair.) 

Amy. (laughingly.) And prepare my pocket-handkerchief :? 

Gert. (sadly.) There is time enough for that, Amy, when your own 
turn comes. 

Amy. (mock-startled.) But I hope it never may. 

Gert. And I pray it never will! 

Amy. Before you begin, let me make a guess. 

Gert. Why not? 

Amy. Is love an element of your grief ? 

Gert. What a question, child What sentiment in woman is not 
founded on love ? And mine was indeed love : pure, earnest, absorb- 
ing ; a first, and an only love ! 

Amy. And who was the happy man '? 

Gert. You never knew him. Poor Harry! Would that you had, 
and you could better appreciate my disappointment. 

Amy. But how can you look for my appreciation when you have not 
told me anything yet? 

Gert. It is a short story, as most sad stories are. Harry and I 
were brought up together as children; we loved one another af 
children ; we loved one another as youth and maiden. At least, 1 
thought so, and 1 still hope so. But after years of mutual protest- 
ation Harry one day suddenly left our neighborhood. No one knew 
the why nor the wherefore. Some said to seek a fortune in business; 
others, that he had an intrigue in the village, from which he wished 
to escape. But that is calumny — base calumny. Be it what it may, 
no one has ever heard from him sinee ; it is now five years since he 
left me. I fear he is dead; he could not be alive and keep such cruel 
silence. If he is dead (I shudder to speak the word !) my love will 
outlive him. That will die only with myself! 

Amy. If you believe this person to be dead you should try to forget 
him. 

Gert. That is impossible. 

Amy. You should throw off thoughts of the past, and, as ycu are 
still young, make for yourself a new and a brighter future! 

Gert. impossible! It is the utmost I can do to make time pass 
tolerably. My only solace I find in study. My books are my only 
resource. Whilst I read, I forget. When I cease, all my sad memories 
rush back to me with double force. I am a listless reader, for beyond 
seeking a change, I read with no purpose. But I am an earnest read- 
er, nevertheless. 

Amy. Too earnest, by far! Too much reading is as bad as an over- 
dose of medicine. Living in books is all very well, but you live in the 
world, the bright and lively world, and must be up and doing, and see 
the world, not" simply read of it. Why, Gerty, what do you think the 
people out of doors call you. 

Gert. Something unkind, I have no doubt. 



10 THE BLUE STOCKING. 

Amy. Well, it isn't exactly nice, but it isn't so very unkind, either. 
They call you " the Blue Stocking. " 

Gert. I don't think the cap fits. 

Amy. You should rather say the stocking ! 

Gert. Typical blue-stockings are old maids who are too ugly to be 
loved, and, therefore, make husbands of their books. 

Amy. Not always. Sometimes they make husbands of the crotchety 
old professors vound whom they gather. 

Gert. Then there used to be another sort of blue-stocking: the 
blue-stocking of Pope's time. They were the first of the species. 
They were often handsome, and often had husbands — and lovers too. 

Amy. Then you've been reading up the subject, Miss Gerty? 

Gert. By one of those curious coincidences I just came across a 
paper on the subject, in a recent book of miscellanies. 

Amy. Speaking of recent books, have you read the latest novel ? 

Gert. What is it called? 

Amy. " Love in Exile. " 

G-ERT. What a strange title ! It quite takes my fancy. 

Amy. And I am sure the story will. Shall I give you a sketch of the 
plot? 

Gert. No, I think not, or you will destroy the interest. 

Amy. Well, do you know it has a wonderful similarity to your own 
tale, only it recounts both sides of the story. 

Gert. How do you mean ? 

Amy. It tells what the young man was doing, while the girl was 
simply pining. 

Gert. Oh, how I shall devour it ! I am quite in a hurry to begin. 

Amy. {rising. ) Then you won't mind my saying good-bye ? 

Gert. But you haven't given me the book. 

Amy. {laughing, and taking book out of satchel, and handing it to 
Gertrude. ) I am a regular woman. I come with a purpose, and go 
away without accomplishing it. 

Gert. {who had risen, and who had just commenced carelessly turn- 
ing over the pages of the book, now falls back with a scream. ) Oh, heaven ! 
this is too much. 

Amy. {running to Gertrude, and in alarm. ) What can be the mat- 
ter, dear? 

Gert. You have indeed accomplished more than you came to do. 

Amy. What do you mean, Gerty ? Relieve my distress ! 

Gert. Eead the title-page of that book. 

Amy. {takes up book wonderingly, and finding the title-page, reads, 
staccato, and in an inquiring voice.) " ' Love in Exile,' a Novel, in One 
Volume, by Henry Spendlove, 1881. " 

Gert. That is it! Henry Spendlove is my dear, dear lover; and 
he lives, as the date shows. Thank God, he lives ! 

Amy. What a strange discovery ! How happy I am that I came 
here to-day ! 

Gert. How can I thank you, Amy ? 

Amy. By ceasing to thank me. 

{Enter Servant. ) 

Servant. A gentleman wishes to see Miss Sadheart, but refuses to 
give his name. 
Gert. It is Harry, I know, I am sure. 



THE BLUE STOCKING. 11 

(Harry Spendlove rushes in from behind Servant, runs towards Ger- 
trude, and clasps her in his arms.) 

Ha.rry. It is indeed he, my dear Gerty. It is Harry come back to 

ask forgiveness, and your hand : to ask the treasure he could not 

claim five years ago, because he could have brought its fair possessor 
only that love in a cottage which too often ends in love in a poor- 
house. 

Gert. But why did you leave us, Harry, without a word, and keep 
us all this time without a line ? 

Harry. I went away to try and make myself a position. I was 
goaded into such suddeness of action by the taunts of a rival, who, 
I thank heaven, has not displaced me. I determined that if I failed 
you should never hear from me again. As I am here you know I 
have succeeded. 

Gert. And what have you been doing all this time, Harry. 

Harry. I went to a large city, and became a newspaper drudge. 
The happy thought one day occurred to me to try and compensate my- 
self, in a small degree, for the sadness our long separation gave me 
by writing the story of our divided loves, hiding our identities under 
fictional names. The publication of this novel by an hitherto un- 
known author created a furore among the critics by reason of what 
they were good enough to call its truthful intensity and pathos. 
They did not know that its pathos was wrung from my heart ; that I 
was describing a faithfulness such as I knew was yours — a faithful- 
ness as you know has ever been mine. I could not help the truthful- 
ness of my story. I drew from life ; I told the world what my heart 
told me. 

Amy. {humorously.) Yours was a practical devotion, sir? 

Harry, (looking to Gertrude with some confusion. ) I — that is — I 
really didn't — 

Gert. {coming to the rescue.) This is my kind friend, Amy d'Esprit 
{they bow) who has so often brought me her kind presence in the hour 
of my grief. She has a right to be here in the hour of my joy. 

Harry, {observing booh.) Hallo, why here's my book! 

Gert. Yes, that is another instance of Amy's kindness. And the 
accident of my finding your name on the title-page prepared me for 
the delightful shock of your return. 

Harry. You will read my book, Gerty, of course ? 

Gert. — I will read your book, Harry. I will read all your books. 
And among your books you shall be as my bible. I shall henceforth 
restrict myself to reading your heart, and to studying your comfort, 
for from this day I shall cease to be 

"A BLUE STOCKING. " 



CURTAIN. 





-*0— «XSJx»- 



jgg» Please notice that nearly all the Comedies, Farces and Comediettas in tlie following 
List of " De Witt's Acting Plays " are very suitable for representation in small Amateur 
Theatres and on Parlor Stages, as they need but little extrinsic aid irom complex scenery 
or expensive costumes. They have attained their deserved popularity by their droll situa- 
tions, excellent plots, great humor and brilliant dialogues, no less than by the fact that 
they are the most perfect in every respect of any edition of plays ever published either in 
the United States or Europe, whether as regards purity of text, accuracy and fullness of 
stage directions and scenery, or elegance of typography and clearness of printing. 

*&* In ordering please copy the figures at the commencement of each piece, which 
indicate the number of the piece in " De Witt's List of Acting Plays." 

jggf Any of the following Plays sent, postage free, on receipt of price — Fifteen Cents 
each. 



£2T The figure following the name of the Play denotes the number of Acts, 
figures in the columns indicate the number of characters— II. male; F. female. 



The 



M. 

75. Adrienne, drama, 3 acts 7 

231. All that Glitters is not Gold, comic 

drama, 2 acts 6 

308, All on Account of a Bracelet, come- 
dietta, 1 act 2 

114. Anything for a Change, comedy, 1 act 3 

167. Apple Blossoms, comedy, 3 acts. .. 7 

93. Area Belie, farce, 1 act 3 

40. Atchi, comedietta, 1 act 3 

89. Aunt Charlotte's Maid, farce, 1 act. 3 

158. Aunt Dinah's Pledge, temperance 
drama, 2 acts 

237. Bachelor's Box (La Petite Hotel), 

comedietta, 1 act 4 

166. Bardell vs. Pickwick, sketch. 1 act. G 

310. Barrack Boom (The), comedictta,2a. G 

41. Beautiful Forever, farce, 1 act 2 

141. Bells (The), drama, 3 acts 9 

223. Betsey Baker, farce, 1 act 2 

67. Birthplace of Podgers, farce, 1 act.. 7 
36. Black Sheep, drama, 3 acts 7 

279. Black-Eyed Susan, drama, 2 acts. . . 14 

296. Black and White, drama, 3 acts G 

160. Blow for Blow, drama, 4 acts 11 

179. Breach of Promise, drama, 2 act;?.. 5 
25. Broken-Hearted Club, comedietta. . 4 

70. Bonnie Fish Wife, farce, 1 act 3 

261. Bottle (The), drama, 2 acts 11 

226. Box and Cox, Romance.^ act 2 

24. Cabman No. 93, farce, 1 act 2 

199. Captain of the Y/atch, comedietta, 

1 act. 6 

1. Caste, comedy, 3 acts 5 

175. Cast upon the World, drama, 5 acts. 11 
55. Catharine Howard, historical play, 

3 acts .......12 

G9. Caught by the Cuff, farce, 1 act 4 

SO. Charming Pair, farce, 1 act 4 

65. Checkmate, comedy, 2 acts G 

68. Chevalier de St. George, drama, 3a. 9 
219. Chimney' Corner (The), domestic 

drama, 3 acts - 5 

76. Chops of the Channel, farce, 1 act.. 3 
205. Circumstances alter Cases, comic 

operetta, 1 act 1 

149. Clouds, comedy, 4 acts 8 

121. Comical Countess, farce, 1 act 3 



F. 




O 


222. 




248. 


O 


107. 




152. 


2 


52. 


3 


148, 


3 




2 


113. 


2 


20. 


3 


286. 




4. 


3 


22. 




275. 


1 


96. 


2 


16. 


2 


58. 


2 


125. 


3 


71. 


2 


142. 


3 


204. 


5 


21. 


2 


260. 


3 


210. 


6 


263. 


2 


186. 


8 


242. 


1 


47. 


6 


2S3. 


1 




2 


202. 




315. 


2 


297. 


O 




5 


200. 




135; 


5 


230. 


1 


103. 


3 


9. 


5 




3 


128. 




i.01. 


2 


99. 


2 


262, 


1 


145. 


7 


102. 


1 


88. 



M. F. 

Cool as a Cucumber, farce, 1 act 3 2 

Cricket on the Hearth, diama, 3 acts 8 6 

Cupboard Love, farce, 1 act 2 1 

Cupid's Eye-Glass, comedy, 1 act.. 1 1 

Cup of Tea, comedietta, 1 act 3 1 

Cut Off with a Shilling, comedietta, 

1 act 2 1 

Cyril's Success, comedy, 5 acts .... 10 4 

Daddy Gray, drama, 3 acts 8 4 

Daisy Farm, drama, 4 acts 10 4 

Dandelion's Dodges, farce, 1 act... 4 2 

David Garrick, comedy, 3 acts 8 3 

Day Alter the Wedding, larce, 1 act 4 2 
Dearest ilamma, comedietta, 1 act.. 4 3 
Dearer than Life, drama, 3 acts.... 6 5 
Deborah (Leah), drama, 3 acts... ... 7 G 

Deerfoot, farce, 1 act 5 J 

Doing for the Best, drama, 2 acts.. 5 3 
Dollars and Cents, comedy, 3 acts. . 9 4 
Drawing Boom Car(A).comedy,l act 2 1 

Dreams, drama, 5 acts.. 6 3 

Drunkard's Warning, drama, 3 acts 6 3 
Drunkard's Doom (The), drama, 2a.l5 5 

Drunkard (The), drama. 5 acts 13 5 

Duchess de la Valliere .p!av, 5 acts.. 6 

Dumb Belle (The), farce, 1 act 4 

Easy Shaving, farce, 1 act 5 

E. C. B. Susau Jane, musical bur- 
lesque, 1 act.. 8 

Eileen Oge, Irish drama. 4 acts 11 

Electric Love, farce, 1 act 1 

English Gentleman (An), comedy- 
drama, 4 acts 7 

Estranged, operetta. 1 act 2 

Everybody's Friend, comedy. 3 acts 6 
Family Jars, musical farce, 2 acts.. 5 
Faust and Marguerite, drama. 3 acts 9 
Fearful Tragedy in the Seven Dials, 

interlude, 1 act 4 

Female Detective, drama, 3 acts 11 

Fernande, drama, 3 acts 11 

Fifth Wheel, comedy, 3 acts 10 

Fifteen Years of a Drunkard's Life, 

melodrama, 3 acts 13 

First Love, comedy, 1 act 4 

Foiled, drama. 4 acts 9 

Founded on Facts, farce, 1 act 4 



DE WITT'S ACTING- PLAYS -Continued. 



*59 
192 
74 
53, 
73, 
30, 

131 

276 
306 

277 

203 

241 
28 

151 
8 

180 

303. 
19, 
60. 

191. 

246. 

301. 

224. 

187. 

174. 

211. 
64. 

190. 

197. 

223. 

252. 
18. 

116. 

129. 

159. 

278. 

282. 

273. 

243. 

271. 

244. 

270. 

274. 

122. 

177! 

100. 

299. 
139. 
17. 
233. 
309. 

86. 
137. 

72. 
144. 

34. 
189. 
253. 
111. 
119. 
239. 

48. 

32. 
164. 
295. 
165. 
22S. 



M. F. 

. Fruits of tbe Wine Cup, drama, 3 cts 6 3 

Game of Cards (A), comedietta, la. . 3 1 

Gamck Fever, farce, 1 act. . 7 4 

Gertrude's Money Box, farce, 1 act. 4 2 

Golden Fetters (FettcradJ, drama, 3.11 4 
Goo^a with the (ioldeu Eggs, farce, 

1 act 5 3 



Go to Putney, farce, 1 act 4 

Good for Nothing, comic drama, la. 5 
Great Success (A), comedy, 3 acts. . 8 
Grimshaw, Bagshaw and Bradshaw, 

farce, 1 act 4 

Heir Apparent (The), farce. 1 act... 5 

. Handy Andy, drama, 2 acts 10 

. Happy Pair, comedietta, 1 act 1 

Hard Case (A), farce, 1 act 2 

. Henry Dunbar, drama, 4 acts 10 

. Henry the Fifth, hist, play, 5 acts. .38 
Her Only Fault, aomedietta, 1 act. . 2 

He's a Lunatic, farce, 1 act 3 

Hidden Hand, drama, 4 acts 5 

High C, comedietta, 1 act 3 

High Life Below Stairs.farce.2 acts. 9 

Hiuko, romantic drama, 6 acts 12 

His Last Legs, farce, 2 acts 5 

His Own Enemy, farce, 1 act 5 

Home, comedy. 3 acts 4 

Honesty is tbe Best Policy, play s 1. 2 
Household Fairy, sketch, i act. ... 1 
Hunting the Slippers, farce, 1 act.. 4 

Hituchback (The), play, 5 acts 13 

Ici on Parle Fraucais, farce, 1 act.. . 3 
Idiot Witness, melodrama, 3 acts. . . 6 
If I had a Thousand a Year, farce. 1 4 
I'm not Mesilf at all, Irish stew, la. 3 

In for a Holiday, farce, 1 act. 2 

In the Wrong House, farce, 1 acr. . . 4 
Irish Attorney (The), farce, 2 acts.. 8 
Irish Broom Maker, farce. 1 act ... 9 
Irishman in London, farce, 1 acts. . 

Irish Lion (The), farce, 1 act. 8 

Irish Post (The), drama. 1 act 9 

Irish Tutor (Tbe), farce, 1 act 5 

Irish Tiger (The), farce, 1 act 5 

Irish Widow (The), farce, 2 acts 7 

Isabella Orsini, drama, 4 acts 11 

I Sball Invite the Major, comedy, 1 4 

Jack Long, drama, 2 acts 9 

Joan of Arc, hist, play, 5 acts 26 

Joy is Dangerous, comedy, 2 acts. . 3 
Kind to a Fault, comedy, 2 acts. ... 6 

Kiss in the Dark (A), farce, 1 act 2 

Ladies' Battle (The), comedy, 3 acts 7 

Lady of Lyons, play, 5 acts 12 

L' Article 47, drama, 3 acts 11 

Lame Excuse, farce, 1 act 4 

Lancashire Lass, melodrama. 4 acts.12 
Larkins' Love Letters, fnrce, 1 act.. 3 
Leap Year, musical duality, I act — 1 
Lend Me Five Shillings, farce, 1 act 5 

L ; ar (The), comedy. 2 acts 7 

Life Chase, drama, 5 acts 14 

Limerick Boy (The), farce. 1 act 5 

Littls Annie's Birthdav. farce. 1 act.. 2 

Little Rebel, farce. 1 act 4 

Little Ruby, drama, 3 acts 6 

Little Em'ly, drama, 4 acts 8 

Living Statue (The), farce. 1 act 8 

Loan of a Lovfcr (The), vaudeville,!. 4 



la / 

109. Locked in, comedietta, 1 act I 2 

86. Locked in with a Lady, sketch 1 1 

87. Lucked Out, comic scene 1 1 

143. Lodgers and Dodgers, iarce, 1 act.. 4. 2 
212. Loudon Assurance, conieuy, 5 acts 10 3 

201. M. P.. comedy, 4 acts 7 2 

210. Mabel's Manoeuvre, interlude, 1 act 1 3 

163. Marcoretti, drama, 3 acts 10 3 

1.14. Maria and Kagdaleua, play, 4 acts.. 8 6 

63. Marriage at any Price, farce, ] act.. 5 3 

249. Marriage a Lottery, comedy, 2 acts. 3 4 
208. Married Bachelors, comedietta, la.. 3 2 

39. Master Jones' Birthday, farce, 1 act 4 2 

7. Maud's Peril, drama, 4 acts .... 5 3 

49. Midnight Watch, drama, 1 act 8 2 

15. Milky White, drama, 2 acts 4 2 

46. Miriam's Crime, drama, 3 acts 5 2 

51. Model of a Wife, farce, 1 act 3 2 

302. Model Pair (A), comedy, 1 act 2 2 

184. Money, comedy, 5 acts 17 3 

250. More Blunders than One, farce, ia. 4 3 
312. More Sinned against than Sinning, 

original Irish drama, 4 acts 11 

234. Morning Call (A), comedietta, 1 act. 1 1 

108, Mr. Scroggins. farce. 1 act 3 3 

188. Mr. X.. farce, 1 act 3 3 

109. My Uncle's Suit, farce, 1 act 4 X 

216. My Neighbor's Wife, farce, 1 act 3 3 

236. My Turn Next, farce, 1 act 4 3 

193. My Walking Photograph, musical 

duality, 1 act 1 1 

267. My Wife's Bonnet, farce. 1 act 3 4 

130. My Wife's Diarv. farce, 1 act 3 1 

92. My Wife's Out, farce. 1 act 2 2 

218. Naval Engagements, farce, 2 acts. ..4 2 
140. Never Reckon your Chickens, etc., 

farce. 1 act 3 4 

115. New Men and Old Acres, comedy, 3 8 5 

2. Nobody's Child, drama, 3 acts 18 3 

57. Noemie, drama, 2 acts.. 4 4 

104. No Name, drama, 5 acts 7 5 

112. Not a bit Jealous, larce, 1 act 3 3 

298. Not if I Know it, farce, 1 act 4 4 

185. Not so bad as we Seem, play, 5 acts. 13 3 

84. Not Guilty, drama, 4 acts 10 6 

117. Not such a Fool as he Looks, drama, 

3 acts 5 4 

171. Nothing like Paste, farce, 1 act 3 I 

14. No Thoroughfare, drama, 5 acts 13 6 

300. Notre Dame, drama, 3 acts 11 8 

269. Object of Interest (An), farce, 1 act. 4 3 

268. Obstinate Family (The), farce, 1 act. 3 3 

173. Off the Stage, comedietta, 1 act 3 3 

227. Omnibus (The), farce, 1 act 5 4 

176. On Bread and Water, farce, 1 act. . . 1 2 
254. One Too Many, farce, 1 act 4 2 

33. One Too Many for Him, farce, 1 act 2 3 

3. £100,000, comedy, 3 acts 8 4 

90. Only a Hallpenny. farce, 1 act 2 2 

170. Only Somebody, farce, 1 act 4 2 

289. On the Jury, drama. 4 acts 5 5 

97. Orange Blossoms, comedietta, 1 act 3 3 

66. Orange Girl, drama. 4 acts 18 4 

209. Othello, tragedy. 5 acts 16 2 

172. Ours, comedy. 3 acts 6 3 

94. Our Clerks, farce. 1 act 7 5 

45. Our Domestics. c<unedy-fa,rce, 2 acts 6 6 

155. Our Heroes, military play, 5 acts. . .24 5 
178. Out at Sea-, drama, 5 actsr. •.;....»». IT 5 



DE WITT'S ACTING PLATS -Continued. 



^-*K 



M. F. 

147. Overland Eoute, comedy, 3 acts 11 5 

305. Pair of Shoes (A), farce, 1 act 4 3 

285. Partners for Life, comedy, 3 acts 7 4 

156. Peace at any Price, farce, 1 act..... 1 1 
82. Peep o' Day, drama, 4 acts .12 4 

127. Peggy Green, farce, 1 act 3 10 

23. Petticoat Parliament, extravaganza, 

lact 15 24 

293. Philomel, romantic drama, 3 acts... 6 4 

62. Photographic Fix, farce, 1 act .3 2 

61. Plot and Passion, drama, 3 acts. ... 7 2 

138. Poll and Partner Joe, burlesqe, la.. 10 3 

217. Poor Pillicoddy, farce, 1 act 2 3 

110. Poppleton's Predicaments, farce, la. 3 6 

50. Porter's Knot, drama, 2 acts 8 2 

59. Post Boy, drama. 2 acts 5 3 

95. Pretty Horse-Breaker, farce 3 10 

•280. Pretty Piece of Business (A), come- 
dy, 1 act 2 3 

181. 182. Queen Mary, drama, 4 acts 37 9 

196. Queerest Courtehip (The), comic 

operetta, 1 act 1 1 

255. Quiet Family, farce, 1 act 4 4 

157. Quite at Home, comedietta, 1 act... 5 2 

132. Kace for a Dinner, farce, 1 act 10 

237. Regular Fix (A), farce, 1 act 6 4 

183. Richelieu , play, 5 acts 12 2 

38. Rightful Heir, drama, 5 acts 10 2 

77. Roll of the Drum, drama, 3 acts .... 8 4 
316. Borneo on the Gridiron (A), mono- 
logue, for a lady 1 

195. Rusemi Shell, burlesque, 4 scenes.. 6 3 

247. Rough Diamond (The), farce, 1 act. 6 3 

194. Rum, drama, 3 acts 7 4 

13. Ruy Bias, drama, 4 acts 12 4 

229. Sarah's Young Man, farce, 1 act 3 3 

158. School, comedy, 4 acts 6 6 

201. School for Scandal, comedy, 5 acts.. 13 4 

264. Scrap of Paper (A), comic drama, 3a. 6 6 

79. Sheep in Wolf's Clothing, drama, la 7 5 

203. She Stoops to Conquer, comedy, 5&.15 4 

37. Silent Protector, farce. 1 act, -3 2 

35. Silent Woman, farce, 1 act 2 1 

313. Single Married Man (A), comic ope- 
retta, 1 act 6 2 

43. Sisterly Service, comedietta, 1 act. . 7 2 

6. Six Months Ago, comedietta, 1 act.. 2 1 

221. Slasher and Crasher, farce. 1 act. . . 5 2 

10. Snapping Turtles, duologue, 1 act. ..1 1 

26. Society, comedy, 3 acts 16 5 

207. Sold Again, comic operetta, 1 act. . . 3 1 

304. Sparking, comedietta-, I act 1 2 

78. Special Performances, farce, 1 act.. 7 3 
215. Still Waters Run Deep, comedy, 3a. 9 2 

256. Sweethearts, dramatic contrast, 2a.. 2 2 
232. Tail (Tale) of a Shark, musical mon- 
ologue, 1 scene 1 

31. Taming a Tiger, farce, 1 act 3 

150. Tell-Tale Heart, comedietta, 1 act. . 1 2 

120. Tempest in a Teapot, comedy, 1 act 2 1 



257. 

146. 

83. 

245. 
251. 

42. 

27. 
133. 
153. 

134. 
272, 
235. 
238, 

2J7. 
214. 
168. 
126. 
234. 
198. 
265. 
220. 

56. 
123. 
288. 
292. 
294. 
162. 
106. 

81. 
317. 

124. 
91. 

118. 
2S1. 



44. 
311. 
105. 
266. 

98. 

12. 

213. 

5. 

314. 

136. 
161. 

11. 

290. 

54. 



M. 

Ten Nights in a Bar Room, drama, 

5 acts 8 

There's no Smoke without Fire, 

comedietta, 1 act 1 

Thrice Married, personation piece, 

1 act 6 

Thumping Legacy (A), 1 act 7 1 

Ticket of Leave Man, drama, 4 acts. 9 3 
Time ana the Hour, drama, 3 acts. 7 3 

Time and Tide, drama, 4 acts 7 5 

Timothy to the Rescue, farce, 1 act 4 2 
'Tis Better to Live than to Die, 

farce, 1 act 2 1 

Tompkins the Troubadour, farce. 1. 3 2 

Toodles (The), drama, 2 acts 10 2 

To Oblige Benson, comedietta, 1 act 3 2 

Trying It On, farce, 1 act 3 3 

Turning the Tables, farce, 1 act 5 3 

Turn Him Out, farce, 1 act 3 2 

Twecdie's Rights, comedy, 2 acts. . 4 2 

Twice Killed, farce, 1 act 6 3 

'Twixt Axe and Crown, play, 5 acts.24 13 
Twin Sisters, comic operetta. 1 act. 2 2 

Two Bonnycastles, farce, 1 act 3 3 

Two Buzzards (The), farce, 1 act 3 2 

Two Gay Deceivers, face, 1 act 3 

Two Polts, farce, 1 act 4 4 

Two Roses (The), comedy, 3 acts. . . 7 4 
Two Thorns (The), comedy, 4 acts.. 9 4 
Uncle Dick's Darling, drama, 3 acts 6 5 

Uncle's Will, comedietta, 1 act 2 1 

Up for the Cattle Show, farce, 1 act 6 2 

Vandyke Brown, farce, 1 act 3 3 

Veteran of 1812 (The), romantic mil- 
itary drama, 5 acts 12 2 

Volunteer Review, farce, 1 act 6 6 

Walpole, comedy in rhyme 7 2 

Wanted, a Young Lady, farce, 1 act. 2 
Wanted, One Thousand Spirited 
Young Milliners for the Gold Re- 
gions, farce, 1 act 3 

War to to the Knife, comedy, 8 acts 5 
What Tears can do, comedietta, la.. 3 2 
Which of the Two? comedietta, la.. 2 10 
Who Killed Cock Robin? farce, 2a.. 2 2 

Who is Who ? Iarce 3 2 

Widow Hunt, comedy, 3 acts 4 4 

Widow (The), comedy, 3 acts 7 6 

William Tell with a Vengeance, bur- 
lesque 8 

( Window Curtain, monologue. . . . 
( Circumstantial Evidence " .... 1 

Woman in Red, drama, 4 acts 6 8 

Woman's Vows and Masons' Oaths, 

drama, 4 acts 10 4 

Woodcock's Little Game, farce, 2a.. 4 4 
Wrong Man in the Right Place (A), 

farce, 1 act 2 3 

Young Collegian, farce, 1 act 3 2 



A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACT- 
^S& "ING PLAYS AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, 
containing Plot, Costume, Scenery, Time of Representation, and all other inform, 
tion, mailed free and post paid on application. Address 

B>E WITT, 83 fgose Street, New Vork ( 



9E WITT'S DRAWING-ROOM OPERETTAS, 



EP* TO MUSICAL AMATEURS. „^j 

The number of Musical Amateurs, both ladies and gentlemen, is not only very 
large, but is constantly increasing^ and very naturally, for there is no more re-> 
fined and pleasant mode of spending leisure hours than in singing and playing the 
choice productions of the best Composers. Hitherto there has been an almost total 
l^xck of suitable pieces adapted to an evening" 1 s entertainment in Parlors by Amateurs. 
(Df course whole Operas, or even parts of Operas, require orchestral accompani- 
ments and full choruses to give them effect, and are therefore clearly unfit for 
Amateur performance, while a succession of songs lacks the interest given by a 
£lot and a contrast of characters. In this series (a list of which is given beloio) we 
hav« endeavored to supply Uds want. The best Music of popular Composers is wed- 
ded to appropriate words, and the whole dovetailed into plots that are effective as 
mere petite plays, but are rendered doubly interesting by the appropriate and beau- 
tiful Music, specially arranged for them. 



LIST OF DE WITT'S MUSICAL PLAYS. 

PRICE 15 GENTS EACH. 



CiEAP YEAR— A Musical Dual- 
ity. By Alfred B. Sedgwick. Mu- 
sic selected and adapted from Of- 
fenbach's celebrated Opera, " Gene- 
meve de Brabant.'''' One Male, one 
Female Character. 

THE TWIN SISTEEB.— Comic 

Operetta, in One Act. The Music 
selected from the most popular num- 
bers in Le Cocq's celebrated Opera 
Bouffe, " Girofe Girofla," and the 
Libretto written by Alfred B. Sedg- 
wick. Two Male, Two Female 
Characters. 

SOLD AGAIN AND GOT THE 

MONEY.— Comic Operetta, in One 
Act. The Music composed and the 
Libretto written by Alfred B. Sedg- 
wick. Three Male, One Female 
Character. 

DHE QUEEREST COURTSHIP. 

—Comic Operetta, iu One Act. The 
Music arranged from Offenbach's 
celebrated Opera, " La Princesse de 
Trebizonde,"' and the Libretto writ- 
ten by Alfred B. Sedgwick, One 
Male, One Female Character. 



ESTRANGED— An Operetta, in 
One Act, The Musie arranged from 
Verdi's celebrated Opera, "II Trov- 
atore.'''' and the Libretto adapted by 
Alfred B. Sedgwick. Two Male, 
One Female Character. 

CIRCUMSTANCES ALTER 

CASES. — Comic Operetta, in One 
Act. The music composed and the 
Libretto written by Alfred B. Sedg- 
wick. One Male, One Female Char- 
cict6r. 

MY WALKING PHOTOGRAPH. 

— Musical Duality, in One Act. The 
Music arranged from Le Cocq's 
Opera, "La Mile de Madame Angot," 
and the Libretto written by Aifreb 
B. Sedgwick. One Male, One Fe- 
male Character. 

A SINGLE MARRIED MAN- 

Comic Operetta, in One Act. The 
Music arranged from Offenbach's 
celebrated Opera Bouffe, " Madame 
V Archiduc" and the Libretto writ- 
ten by Alfred B. Sedgwick. Six 
Male, Two Female Chaiacter^. 



MOLLY MORIARTY.-An Irish 
^ Musical Sketch, in One Act. The 

Music composed and the Dialogue 

written by Alfred B. Sedgwick. 

One Male, one Female Character. 

Suitable for the Variety Stage. 

THE CHARGE OF THE HASH 

BRIGADE.— A Comic Irish Musical 
Sketch. The Musie composed and 
the Libretto written by Joseph P. 
Skelly. Two Male, two Female 
Character- Suitable for the Variety 
Stage. 



GAMBRINUS, KING OF LAGER, 

BEEH.— A Musical Ethiopian Bur- 
lesque, in One Act. Music and Dia- 
logue by Frank Dumont. Eight 
Male, one Female Character. Suita- 
ble for the Ethiopian Stage. 

AFRICANUS BLUEBEARD.-A 

Musical Ethiopian Burlesque, in One 
Act. Music and Dialogue by Frank 
Dumont. Four Male, four Female 
Characters. Suitable for the Eihio* 
pian Stage. 




POPULAR HAND BOOKS 

— FOR — 

Readings^^Recitations; 



GUS WILLIAMS' 

reside Recitations, 

N~os. 1 and 2. 

Being careful selections of the purest, most interesting and most 
effective pieces of prose and poetry in the language. 

Many of the articles in these books have been recited by the compiler 
with every mark of approval, before large and refined audiences. "While 
many of the favorite standard pieces are retained, the majority are those 
newer and fresher productions that are difficult, if not impossible, to pro- 
cure in any one volume. 200 pages each. Stiff paper covers. 

PRICE, S5 CENTS. 



GUS WILLIAMS' 

:andard Recitations. 

A fine collection of pathetic, dramatic, comic and dialectic articles, 
by the best writers of the times; all of which have been found highly 
effective before large audiencea in all parts of the United States, as 
recited by the compiler. 98 pages. Paper covers. 

PRICE, lO CENTS. 

Copies of any oftJw above books sent by mail to any address, on receipt 
of pride. 



\ 



DE WITT'S ETHIOPIAN AND COMIC DfiAMA.— Continued. 



33. 

94. 

103. 

1. 

36. 

18. 

60. 

37. 

90. 
109. 

19. 
149. 
151. 

96. 
147. 

129. 

101. 

117. 

44. 

8. 

119. 

49. 
132. 
145. 

22. 

27. 
125. 

30. 
114. 

76. 
91. 

87. 

135. 

92. 
9. 

57. 

65. 

66. 
115. 

14. 
105. 

45. 

55. 

I 



M. F. 

Jealous Husband, sketch 2 1 

Julius the Suoozer. burlesque, 3 sc. 6 1 
Katrina's Little Game, Dutch act, 

1 scene... 1 1 

Last of the Mohicans, sketch 3 1 

Laughing Gas, sketch, 1 sceue 6 1 

Live Iujuu, sketch, 4 sceues 4 1 

Lost Will, sketch . . 4 

Lucky Job, farce, 2 scenes 3 2 

Lunatic (The), farce, 1 scene 3 

Making a Hit, farce, 2 scenes 4 

Malicious Trespass, sketch, 1 scene. 3 
'Meriky, Ethiopian farce, 1 scene... 3 1 
Micky Free, Irish sketch, 1 scene . . 5 
Midnight Intruder, farce, 1 scene . 6 1 
Milliner's Shop (The), Ethiopian 

sketch, 1 scene 2 2 

Moko Marionettes, Ethiopian eccen- 
tricity, 2 scenes 4 5 

Molly Moriarty, Irish musical 

sketch, 1 scene • 1 1 

Motor Bellows, comedy, 1 act 4 

Musical Servant, sketch. 1 scene — 3 
Mutton Trial, sketch, 2 scenes .... 4 
MyWife'sVisitors, comic drama,lsc. 6 1 
Night in a Strange Hotel,sketch,lsc. 2 
Noble Savage, Ethi'n sketch, 1 sc. . . 4 
No Pay No Cure, Ethi'n sketch. 1 sc. 5 
Obeying Orders, sketch, 1 scene — 2 1 

100th Night of Hamlet, sketch 7 1 

Oh, Hush ! operatic olio 4 1 

Oue Night in a Bar Room, sketch . . 7 
One Night in a Medical College, 

Ethiopian sketch, 1 scene 7 1 

One, Two, Three, sketch, 1 scene. . 7 
Painter's Apprentice, farce, 1 scene. 5 
Pete and the Peddler, Negro and 

Irish sketch, 1 scene 2 1 

Pleasant Companions, Ethiopian 

sketch, 1 scene 5 1 

Polar Bear (The), farce, 1 scene 4 1 

Policy Players, sketch, 1 scene 7 

Pompey's Patients, interlude, 2 sc.^ 6 
Porter's Troubles, sketch, 1 scene.. 6 1 

Port Wine vs. Jealousy, sketch 2 1 

Private Board iug, comedy, 1 scene. 2 3 

Recruiting Office, sketch, 1 act 5 

Rehearsal (The), Irish farce, 2 sc. . . 3 1 
Remittance from Home,sketch. 1 sc. 6 
Rigging a Purchase, sketch, 1 sc. .. 3 



M. F. 

81. Rival Artists, sketch, 1 scene 4 

26. Rival Tenauts, sketch 4 

loti. Rival Barbers' Shops (The). Ethio- 
pian larce, 1 scene 6 1 

15. Sam's Courtship, farce, 1 act t . 2 1 

59. Sausage Makers, sketch, 2 scenes.. 5 1 

21. Scampiui, pantomime, 2 scenes 3 3 

80. Scenes on the Mississippi, sketch, 

2 scenes 6 

84. Serenade (The), sketch, 2 scenes 7 

38. Siamese Twins, sketch, 2 scenes 5 

74. Sleep Walker, sketch, 2 scenes 3 

46. Slippery Day, sketch, 1 scene 6 1 

69. Squire lor a Day, sketch 5 1 

56. Stage-struck Couple, interlude, 1 sc. 2 1 

72. Stranger, burlesque, 1 scene 1 2 

13. Streets of New York, sketch, 1 sc. . . 6 

16. Storming the Fort, sketch, 1 scene. 5 
7. Stupid Servant, sketch, 1 scene 2 

121. Stocks Up ! Stocks Down ! Negro 

duologue, 1 scene 2 

47. Take It, Don't Take It, sketch, 1 sc. 2 
54. Them Papers, sketch, 1 scene 3 

100. Three Chiefs (The), sketch, 1 scene. 6 

102. Three A. M., sketch, 2 scenes' 3 1 

34. Three Strings to one Bow, sketch, 

1 scene 4 1 

122. Ticket Taker, Ethi'n farce, 1 scene. 3 

2. Tricks, sketch 5 2 

104. Two Awfuls (The), sketch, 1 scene.. 5 
5. Two Black Roses, sketch 4 1 

28. Uncle Eph's Dream, sketch, 2 sc. . . 3 1 
134. Unlimited Cheek, sketch, 1 scene.. 4 1 

62. Vinegar Bitters, sketch, 1 scene 6 1 

32. Wake up, William Henry, sketch. . . 3 

39. Wanted, a Nurse, sketch, 1 scene... 4 

75. Weston, the Walkist, Dutch sketch, 

1 scene 7 1 

93. What shall I Take ? sketch, 1 scene. 7 1 

29. Who Died First ? sketch, 1 scene. . . 3 1 
97. Who's the Actor? farce, 1 scene 4 

137. Whose Baby is it ? Ethiopian sketch, 

1 scene .2 1 

143. Wonderful Telephone (The), Ethio- 
pian sketch, 1 scene 4 1 

99. Wrong Woman in the Right Place, 

sketch, 2 scenes 2 2 

85. Young Scamp, sketch, 1 scene 3 

116. Zacharias' Funeral, farce, 1 scene. . 5 



A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACT. 
ING PLAYS AND DE WITT'S ETHIOPIAN AND COMIC BRAMP 
containing Plot, Costume, Scenery, Time of Representation, and all other infor^ 
tion, mailed free and post paid on application. Address 



DE WITT, Publisher, 

33 Rose Street, New Yj 



LIBRARY OF CONGRESS 



Ail Mispnsalile Bool 




017 401 107 2 

*vx xxmuiUUl Mi 



HOW TO MAHA&E ' 
AMATEUK THEATRICALS, 



Being plain instructions for construction and arrangement of Stage, 
making Scenery, getting up Costumes, "Making Up " to represent 
different ages and characters, and how to produce stage Illusions and 
Effects. Also hints for the management of Amateur Dramatic Clubs, 
and a list of pieces suitable for Drawing Room Performances. Hand- 
somely illustrated with Colored Plates. 

Price, 25 Cents. 



DE WITT'S SELECTIONS 



FOE 



AMATEDR Ai PARLOR THEATRICALS. 

Nos. 1, 2, 3, 4 & 5. 

Being choice selections from the very best Dramas, Comedies and 
Farces. Specially adapted for presentation by Amateurs, and for 
Parlor and Drawing Boom Entertainments. 

Each number, 25 Cents. 



PANTOMIME PLAY , 

"HUMPTY DUMPTY." 

he celebrated Pantomime, as originally played for 1,000 nights by the 
George L. Pox. Arranged by John Denier, Esq. Eight male, 
female characters. 

Price, 25 Cents, 



